The Gremlin voices were recorded through a budget condenser mic and then warped, pitched up and modified with a Grain Delay in Live.

Most of the other sound design was done foley-style with a Zoom H2 and edited within Live.

For reverb, I used the Lernvall LAConvolver with Voxengo impulse responses.

My audio interface is a Focusrite Saffire Pro 40.

For studio monitors I currently use a pair of ADAM A8X, though during the final master stage I also listened to both music and sounds through a lot of smaller speakers, including those of my MacBook - for obvious reasons.

Were there any sections in any of the tracks you found to be particularly difficult or complicated? If so, how did you work through the difficulties?

Gladly, there weren't any real difficulties or complications at all, mostly due to the fact that communication with the dev team was excellent and we worked through quite a few references before I presented the first layouts. Also, the artwork already gave me a good clue which direction to take with the music and sound design. It was all wrapped up over the course of a week or so.

The only track that required a minor revision was the main gameplay track, "Gremlin Polka" - it needed some more "fantasy" elements than I had originally planned, but it was as simple as adding a few cymbal and timpani rolls and adjusting the strings a bit.